{"title":"牺牲、信仰、混血人身份:格瓦拉“新人”的三观","authors":"Gregory Stephens","doi":"10.7560/SLAPC3409","DOIUrl":null,"url":null,"abstract":"Abstract:This article revisits Che Guevara’s concept of the new man through close readings of the book and film Motorcycle Diaries and Steven Soderbergh’s film Che: Part One (2008). Although I also briefly engage Che’s Episodes of the Cuban Revolutionary War and use Richard Dindo’s film Ernesto Che Guevara: The Bolivian Diary (1996) as a framing device, my primary focus is a critical analysis of the origins of the utopian myth of the new man.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Sacrifice, Faith, Mestizo Identity: Three Views of Che’s “New Man”\",\"authors\":\"Gregory Stephens\",\"doi\":\"10.7560/SLAPC3409\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:This article revisits Che Guevara’s concept of the new man through close readings of the book and film Motorcycle Diaries and Steven Soderbergh’s film Che: Part One (2008). Although I also briefly engage Che’s Episodes of the Cuban Revolutionary War and use Richard Dindo’s film Ernesto Che Guevara: The Bolivian Diary (1996) as a framing device, my primary focus is a critical analysis of the origins of the utopian myth of the new man.\",\"PeriodicalId\":53864,\"journal\":{\"name\":\"STUDIES IN LATIN AMERICAN POPULAR CULTURE\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2016-05-11\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"STUDIES IN LATIN AMERICAN POPULAR CULTURE\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7560/SLAPC3409\",\"RegionNum\":4,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"N/A\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7560/SLAPC3409","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"N/A","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
Sacrifice, Faith, Mestizo Identity: Three Views of Che’s “New Man”
Abstract:This article revisits Che Guevara’s concept of the new man through close readings of the book and film Motorcycle Diaries and Steven Soderbergh’s film Che: Part One (2008). Although I also briefly engage Che’s Episodes of the Cuban Revolutionary War and use Richard Dindo’s film Ernesto Che Guevara: The Bolivian Diary (1996) as a framing device, my primary focus is a critical analysis of the origins of the utopian myth of the new man.
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